“ This opera also featured in Radio Kashmir’s annual Drama Festival of 1968.It was a great effort by Naadim sahib in experimentation and extension of form and Content in kashmiri poetry. VYAETH was the original name of the opera which was later changed to VITSATA for performance on stage . It was a Qaiser Qalandhar Production for Radio .Qaiser sahib was a Musicologist . He had a deep understanding of Kashmir’s Traditional Music that includes Sufiana and Folk . Infact he also wrote a Book on Music that was released in London by his friends and well wishers . This Radio opera became a talk of the town. The song “ Sangruv Gaash Hyot Lolli Lallavun ye --- Vyaathh aayii Mahaarin Soann ye ” was on every lip in Kashmir. The stage adaption of the opera was done by Academy of Art Culture and languages .”

WHO WAS QAISER QALANDHAR ?

Sayyed Qaiser Qalandhar (1926-1998 ) was a well known Broadcaster , Poet , Writer and Musicologist from Kashmir . Bespectacled , he was always smartly dressed and presented a scholarly look . He spoke less and was publicity shy .

Standing in second row from L to R last person) and
Pran Kishore ( Sitting in chair third person from L to R ) also acted in the college play
NEELAM performed in
1943. )

Qaiser Qalandhar contributed significantly during the initial / Formative years of Radio kashmir Srinagar .

He served at various locations including Srinagar , Amritsar , Calcutta and New Delhi and rose to become Deputy Director General of Prasar Bharti ( AIR ). His Travelogue to Europe appeared in a serialized version in Urdu Weekly Chaman in 1970. This Travelogue Gives a Grand peep into Life and Culture of Western Civilization ( Europe ) . It also appeared in Soan Adab ( our Literature ). For AIR , He also recorded an Interview with Begum Akhtar when she was in srinagar .

I am informed that it was Qaiser sahib who got the last song of 1968 Radio Opera Vyaath ( Stage Opera VITASTA ) “ Sangruv Gaash Hyot Lolli Lallavun ye --- Vyaathh aayii Mahaarin Soann ye ” sung in kashmiri Vanvun style on a tune that he personally created . Naadim sahib and others wanted to use Roff style of kashmiri singing for this song. When the final recoding in Vanvun form appeared , the song became instant hit. He wrote a Book on Indian Music titled “ HAMAARI MAUSEEQUI “ that was well received and rated .

Not many of us know that some Great songs sung by Naseem Begum ,Naseem Akhtar, Zoon Begum and Raj Begum were composed by Qaiser Sahib for Radio Kashmir Srinagar . I quote …

Wednesday, December 24, 2014

( Photograph of Kashmiri Opera VITASTA performed by Artists from J&K state at New Delhi in February 1977 )

In Germany,opera lost its spark and lure after the death of Richard Wagner (
1813-1883). Wagner revolutionized Opera production by combining Music , Drama, poetry and German Mythology .Wagner would always say

“ I write music with an exclamation
point ! And I believe imagination creates
reality .”

So Did Poet Dina Nath Naadim do to Kashmiri Opera. I rate Naadim Sahib’s Bombur Ta Yemberzal ( The Bumble Bee and the Narcissus
flower ) And Vitasta ( river Jhelum ) at
par with Wagner’s Der Ring Des Nibelungen or
The Ring of Nibelungen .

In the field of Operas , None like
Wagner in Germany after his death and
And no one in kashmir after
Naadim sahib .

Naadim wrote VITASTA in
1965 for Radio Kashmir Srinagar . J&K Academy of Art Culture and languages
decided to play it on stage sometime around 1976-1977. Much was required to be
done in terms of Costumes , Music , Dance , Direction and Artists. Too much was
done by Varinder Mohan ( Music Director ), Pran Kishore ( Director ) , Noted
Poet Painter Ghulam Rasool
Santosh, Choreographer Bansi Dogra, Artists drawn from all the three
regions of the state ,singers from valley and Dancers from Delhi. I need to
make special mention of Poet , Painter G R Santosh who used his creative mind
and reverted to Neelmata purana and Rajataringini to have an idea of the dress
of Nagas , Pishatchas of Kashmir.The Director
/ Costume Designer is reported
to have also seen the Stone sculpture of Nagarjuna at Nalandha for
this purpose . Nagarjuna has a strong connection with ancient Kashmir. Santosh
sahib designed the crown of Prince wular that looked like a water chestnut or of Wular
lake .The play was staged in Auditorium of All India Fine Arts and Crafts
Society New Delhi in February 1977. The packed to capacity audience inside the
hall gave the Artists especially Gulafroz and
Makhan Lal saraf a standing ovation . So wrote some National News papers about this Opera ..

“The opera presented by The troupe from
Kashmir was a real treat served with vibrant music , Dance and flowing poetry.
This opera has left an indelible mark in the minds of the entire audience . special mention needs to be made about the
performance of Artists and singers . Gulafroz comes up as an attractive queen
in the opera .Makhan Lal saraf also regaled the audience with
acting and his Royal style .
A superb combination of Indian ,
kashmiri and western musical instrument
enabled to create a melody that
retained its native lustre.”

wrote Statesman..

“ Marvelous poetry , Superb folk music , Wonderful choreography , colourful
costumes and talented acting transported the audience to some other world . The
lighting arrangements were adequately
synchronized with action on stage.”

Padma Sachdev ( Born 1940 ) hardly needs any introduction.
She has established herself as a frontline Dogri Poetess, novelist and writer .
She is equally well known amongst Hindi readers for her poems and Novels . This
book has been published by “ Bhartiya Gyanpeeth ” as a Hindi Novel . I was
attracted and tempted to read entire Novel after going through some pages
initially . Dedicated to Hindi writer late Kamleshwar , the book is spread over
218 pages .Padma Ji pays due tributes to late Dharmveer Bharti noted Hindi poet
, who encouraged her to write this semi autobiographical novel. It is a story
of Post partition evolution of Jammu city .

The author is careful about not touching any political
personality except Bakshi Ghulam Mohd. I believe this is due to some personal
reasons and a sort of debt that was due to him from her side .

Padma ji considered late Bakshi Ghulam Mohd as her guide and
a fatherly figure . Bakshi sahib felt
highly impressed after he heard Padma ji at a Mushaira in jammu where she
recited her poem “Raaje diyaan Mandiyaan.” . It is a remarkable poem that
voices the feelings of the oppressed and the exploited poor, symbolized by an
old woman. It also expresses deep anguish against the inhumanity and
insensitivity of the powerful and the ruling class. Bakshi later ensured that
she got best medical treatment when she was admitted to Chest Diseases Hospital
at srinagar ( Droggjan Dalgate) for her TB treatment . At this hospital, Padma
ji stayed for abut three years and during this period , she came very close to
kashmiri language ,culture and social customs. She also learnt to speak
kashmiri language .

Later , After her divorce / separation from Ved Pal Deep,
Modern Dogri poet and editor of Urdu newspaper sandesh , Padma ji decided to
move to Delhi . It was again through Bakshi Ghulam Mohd’s intervention and a
recommendatory letter that she got a job in AIR as announcer.

Using SUGGI ( a widow from a family of barbers to Dogra
Maharajas ) as protagonist , Padma ji takes you on trip of Jammu city right
from her childhood days till sometime around 1994-95 . In this journey , you
visit Panjtirthi Locality where Padma ji spent her childhood after her family
shifted from Purmandal .You come across the steep foot paths ( Dakkis ) leading
to river Tawi . These paths would become live everyday in early morning
darkness as men and women went to river Tawi for bathing . The narrow lanes and
clean mud houses with courtyards made dirt free using cow dung spread .
Wonderfully descriptive scenes have been created around SUGGI’s house ;
Tinkling of bells at Mahalakshmi Temple of Pucca danga , Jangam Babas at Peer Kho Temple on Tawi Bank ,
Daunthali Bazaar , Purani Mandi , Kachchi Chhawani , Maniyaari shops , warm Kitchens
with timber burnt for cooking food , the
smoked utensils , chapattis , Daal , Karhi chaawal , Kachaaloo ,Home made Mango
Pickle , Morning Desi Tea with sugar and a pinch of salt , khameer , eating juicy
Kimbbs , Elders busy with their Hukka , Pateesa , Darbar Move , Walnut tree bark used as Daatun and many more
easily identifiable lifestyle images of Jammu city’s past .

Every morning Gujjar women ( with heavy silver anklets )
,living in hills adjoining the city , walk through steep paths ( Dakkis in
Local parlance ) to bring Milk to the city . They sit and gossip in a confident
and carefree manner with the Shah ( shopkeeper ) . This scene is almost extinct
now as milk is ferried to city by male Gujjars in Motor vehicles through roads
that connect their houses with jammu city .

As you move through the pages , you find Women in Tight
churridaar Pyjamas ( Suthhan ) singing ……..

Pal pal Beyi Jaana Ho Jindhe

Raati Reyi Jaana Ho Jindhe

( Love sit for a while over here too

Love stay for a night over here too )

Women prefer to sit in groups after they finish their work .
While sitting , each women is busy in some kind of work that could be knitting
or needle work . Away from their mothers in law , young women giggle when some
married girl joins to say..

“ Breikurr gilli bii Balley

Suss gareeban be larre “

(The Breikurr shrub burns even if it is wet ,

And the mother in law quarrels even if she is poor )

After they finish the kitchen work , Women busy themselves
with Charkhaa and keep singing in low tone …

Ladli na Rakh Baawala

Teri Ladali De Din Thhoday

Laadli Me Iyaan Rakhii Ye

Jiyaan kaagdhe De Vich sunna

“ Father don’t pamper your daughter

She has a brief stay in your house “

And the father says

“ I have kept my darling daughter

Like we keep precious gold inside paper ”

“ Chambe diye Daahladiye Moiye Bindh Duaas ni ho

Kal Unney aayii Ponaa Khirri Khirri Banii Banii Po ”

“ O You like a branch laden with champa flowers , Do not
turn to sorrow,

Dress up and Sit like a blooming flower , Tomorrow he shall
be arriving .”

SUGGI is witness to the painful events of 1947 and the
arrival of refugees from Mirpur , Rajouri , Bhimber and other adjoining areas
to jammu city . Her memory is stored with too many tragic events of 1947 when
man turned a beast . She also narrates with pride as to how some persons still
retained sanity when people behaved as lunatics . For her ,Pakistan was created
out of pain and suffering resulting from killing of many innocent people across
both sides of the border . She misses Sialkot where some of her childhood
friends and neighbours migrated . She is sympathetic to refugees who arrived
from POK and also misses her muslim neighbours who left for Pakistan.

Unfortunately , Padma Sachdev also lost her father ,
Sanskrit scholar, professor Jai Dev Barru in the communal Frenzy of 1947.

Pandit Sansar chand Baru ( painter ), Poet Kishen Smailpuri
, Poet Dinu Bhai Pant, Malika Pukhraj,Maharaja Partap singh , Maharaja hari Singh
and Bakshi Ghulam Mohd as prime Minister also find mention in the novel. In
fact suggi goes to the official
residence of Bakshi Ghulam Mohd in jammu when she is driven out from a
custodian house by Government officials . She motivates Bakshi Ghulam Mohd to
come to her house in a jeep and take on the spot decision . While Bakshi drives the jeep personally , Suggi sits in
front seat smilingly . To the surprise of her foes , Bakshi sahib does justice
in his own style to poor SUGGI . He allots a custodian House to her during this
visit .People gather to see the Prime Minister coming to meet a poor destitute
woman. While Bakshi sahib delivers justice , a person amongst the onlookers
keeps singing…..

“Bhaley Bhaley Ki sidhaa kardaa

Aey Bakshi Da Dandaa “

“ Who is there who has not been set right

By Bakshi ‘s hand held stick ?“

Other characters of this novel that are worth mentioning are
, Nainto ,Raano, Pant ji , Soma Panditaayan , Sainti, Laajo and Shardul singh (
Servant from the Wazir family ) . Shardul Singh is a liquor addict. Shardul
singh’s sahib from the wazir family is fond of Kalaaris made from milk and he
prefers to have them with his daily quota of liquor .With this wazir family ,
SUGGI goes on a trip to Pashupati Nath Temple of Nepal.

Soma Panditaayan is her childhood friend . Her husband ,
Pandt Dev Datt is a respected Brahmin who is always busy performing marriages ,
Mundans , Yagneopavit functions , Shradaas and other religious rituals for
various families in Jammu city. Soma fondly calls him Pant ji ( Pandit ji ).
Pant ji never misses his early morning bath even during intense winter season
when he uses a Kangri to warm up his body. Without fail, pant ji does his
morning Thakurdwara ( Pooja room or Thokur Kuth in kashmiri ) Pooja before starting
his daily routine work. He must also have his glass of milk everyday after his
Thakurdwara pooja . Soma puts three or
four water soaked almond kernels in this milk .Pandit Dev Datt is a
shaivite who worships Parthav shiva with milk , water and Bheil patter . The
husband and wife live a happy and contended life. SUGGI is a frequent visitor
to Pandit Dev Datt's house .

And then SUGGI
remembers how she would join Bhaakkaan
singers from adjoining hills of jammu city
who flocked to Amar palace
on maharaja Hari singh’s
birthday . These women would squat in groups in outer lawn for their
day long singing of pahaari
songs . Gifts and food would be distributed to them By members of the Royal family
. They sang so many songs like …

‘Chunn Maahrra Chadeyaa
te pahaarraa aahli Kingri

Sajjane Ki Pyaar denaa Nuthh karrey Khingri

Milnaa Zaroor Meri jaan ho ”

“ My Moon faced beloved
has gone up a mountain top ,

Keeping my Nose ring aside ,

I shall offer him
my love

My love! I shall meet
you for sure . “

How painful for SUGGI
to know that Maharaja was an
exile who lived in Mumbai with capt. Dewan singh and some trusted Servants .The royal status
of Wazir and Katoch families
of Jammu had also declined with the departure of Maharaja Hari
Singh . Some one makes her believe
that even during Maharaja’s rule , Dogras were poor and unemployed as Maharaja Partap singh and even Maharaja
Hari singh preferred outsiders to fill
various posts in administration. A woman quotes Poet Dinu Bhai Pant to support this point of view..

Lok Mheene
Maardhey Dogre da Raaj Ho

Dogre da Bhaag Dikho Jurrdaa Ni Saag Ho

( People comment satirically that Dogras rule the state

And look how Unlucky
Dogras cant even afford green
vegetables )

And Jammu kept
changing . People who were satisfied with Daal ,Chappati , Achaar ,
lassi , Madra , kachori
,Annardaana, Rajmaah shifted
to Cold Drinks , Lipton Tea,
Chicken, Ice creams, sweets ,
kitty parties and LPG Cylinders in kitchens
. With development and newer employment avenues , People from
many towns start pouring
in and settling in jammu city . Jammu
gets ample connectivity and expands
in all directions . With New concrete residential buildings ,newer colonies and people pouring
in regularly , the city feels pressure on its resources .
SUGGI is privy to these rapid changes .

And then in 1990
,SUGGI witnesses once more something
like 1947 events . Terrorized by armed Militants, kashmiri Pandits run for safety and arrive in
Jammu city. They take shelter in temples ,
vacant semi finished buildings , Tents and anywhere and everywhere they find a cover for their hapless families . Young
children , women and elders
crowd in a single room , face many odds
and to survive , men from the
community take up any offer of employment that comes their way .They live in hell
but keep dreaming of the heaven they
left behind.

The protagonist of the novel
is amazed at the resilience
of this community and
feels that no curse is bigger than leaving one’s motherland .

Suggi tells Soma
panditayan .

“ Look soma , Women
may pass time in banishment as they get
busy with other household affairs but men suffer too much while living in
exile . These pandits used to spread education all over . Now look how
these poor fellows do all type odd jobs.I curse this Government . Bring two families over here . Those two
rooms are locked since long in our locality . I shall break open the locks. Let
two Pandit families stay over here
.Bring Sarvanand Koul’s family here . If nothing is possible , I shall share
one room in this custodian house with
that family . One room is sufficient for
me ."

Unable to come to
terms with rapid changes taking place
around her , Just before her death , Suggi tells Rano ,

“This city does not reflect the Dogra culture any more .
People neither speak dogri language nor eat Dogra food. No one dresses like a Dogra
any more .The potter who made Suraahi
type Pitchers is dead .No women
wears a Suthhan ( a long but tight salwar worn by ladies
). When parents do not speak dogri , How
can children speak Rano ji . Dogras think that they have come from England
. They feel proud in teaching English to their children as a language of
communication within their families
and homes ."

On her death bed , SUGGI tells Parsino , her daughter in law

" Look Parsino , River Tawi is more sacred than Ganga or yamuna .Let me have a bath in Tawi before i die . Can't Nathi ( Parsino's husband ) carry me on his back ? I want to see Hills of Mata Vaishno Devi . I shall send my Pranaams to Mata Rani. Parsino , Listen carefully , Soma is my childhood friend . Respect her in my absence .During my death rituals , ensure that all women wear Dogra Dress. you should wear a Suthhan . I shall be watching everything from the sky over your head. I may become a Ghost if you do not act on my words ."

And inspite of her love for Dogra culture and language , Suggi is open towards accepting changes that are sweeping her Jammu . Infact she has learnt and adopted many things after her personal interaction with Punjabis , Mirpuris and kashmiris living in Jammu city . She likes Kashmiri Kahwa tea and crisp Baakikhaanis . She has a Kashmiri Raffal Dussa that she uses sparingly.

And Jammu finally turns a crucible of many cultures and civilization ;A true symbol of Unity in diversity …..

When my sister’s Mother in law heard that a marriage had to be solemnized in our family , she suggested that we should engage noted Kashmiri folk ( Chhakri ) singer Ali Mohd Sheikh ( 1916-2006 ) for Mehndiraat function . She was a great admirer of Ali Mohd Sheikh. It was early November 1989 and armed militancy had arrived in kashmir valley . Uncertainty , fear and panic had become a part of the day to day routine. Marriages were brief devoid of celebration and merriment . We had no option but to go for a Mehndiraat function without the usual folk singers . Ali Mohd Sheikh could not be invited for obvious reasons. I personally missed the traditional dance , Music and Chhakri that kashmiris usually have on Mehndiraat functions.

Ali Mohd sheikh was a master of *Chhakri style of kashmiri folk singing . A Sangeet Natak Academy awardee , he had travelled to many places in India and abroad ( Tajikistan , USA ,Japan and some Latin American countries ) popularizing Chhakri style of kashmiri singing . Sheikh had also mesmerized the audience by his singing in Festival Of Asian arts at Hongkong held in 1988. About this Festival, Music composer Dalip Langoo Adds,

“Ustad Ali Mohd Sheikh not only performed there as a folk singer from Kashmir but he also performed in a small dance drama sequence created by Noted Composer Krishan Langoo ji. He acted as Moulvi sahib before a huge gathering at one of the prestigious shows held in Hong Kong. ”

Sheikh also sang for the Radio and Television creating two generations of admirers .

Ali Mohd Sheikh was born and brought up in village Hajjin falling in North Kashmir. And such singers do not sing songs alone ; They are the torch bearers who spread culture and heritage through music .

He had his own group of accompanying musicians and did regular Riyaz creating New Melodies and Rhythms .He would mostly sing Sufi poets like Ahad Zargar , Sochhi Kraal , Samad Mir, Wahab Khaar and Shams Faqeer .

I must have heard eight or nine compositions of Ali Mohd Sheikh and party . Every composition done to perfection . Perfection in selecting the Kalaam ( poetry ), perfection in handling and lacing the words with music and perfection in delivery . I have seen him playing Harmonium and Sarangi .

To my readers I would suggest listening just three composition of this Grand master . Even One is enough to establish his versatility .

Any person who has listened to his rendering of “ Faqeeri Kabaah O Mehraab Chhumaai ” need not listen more of his singing so as to call him the greatest exponent of Chhakri Style of kashmiri Folk singing .

Unknown to many of his admirers , Sheikh had an insightful knowledge of kashmiri sufiana singing as well .I have seen him delivering some brief but soulful lines for his audience in pure kashmiri sufiana style . I quote two lines that he sang in a function at Tourist Reception Centre Srinagar long back ….

*CHHAKRI style of singing is believed to have originated from SHAKTRI ( Chorus singing by Aryans after a Yagya ) ) mentioned in RIGVEDA . It is a form of chorus or group singing by males with Matka ( Noatt ) , Rabaab , Tumbaknaari , Sarangi as accompanying instruments . Harmonium is a later addition to Chhakri singing .The lead singer sits in the centre with others surrounding him. Rajatangini also makes mention of a stylized singing in Kashmir wherein metal utensils were used . So powerful and foot tapping are the beats of this style of singing that every listener is tempted to stand up and dance in musical rhythm. It is a popular form of folk singing that is put to practice during weddings and other functions by Muslims and Pandits from Kashmir valley .(2)The Hong kong event of 1988 was wonderfully conceptualized , designed and executed by Pran Kishore ( Radio Kashmir ) And composer Krishan Ji Langoo .Two DVDs loaded with recording of this Gala Musical event were given to me by Krishan Ji Langoo and these remain as a precious Gift with me .

Firaq has used two words in some his Gazals that he wrote . These words are Khastagi ( Brittleness ) and
Munn-Chalan ( something close to haughtiness ) . Many writers who knew him, saw
him and were friendly to him , commented that contrary to popular beliefs ,
Firaq was soft , tender and as transparent as Glass . That made him brittle as
well.

Firaq was also a little puffed-up
personality . Death of his children and a failed marriage made him lonely . It
brought enormous pain in Firaq's life And Firaq had no one close to him to
share this grief .

Logon ki samajh mein aa na sakaa kuchh mujh ko bhi hai taajub saSunn meri udaasi ka kaaran aey humdum bahut akela huun ( Firaq Gorakhpuri )All these things apart , he had a very high
opinion about his poetry and his style. And this opinion also extended to his
English ,a language that he taught at Allahabad university. He is reported to
have once said ,

“ Only three people in India know correct
English .They are Dr S Radhakrishnan , Pandit Nehru and Firaq ”.

In fact he had said that only two and half
persons know correct English In India . Nehru, he had put in the half . This
statement was later modified to Three.

What I say is supported by his one couplet
as well.

Aaney wali naslain tum par fakr kareingi
Hum-asron

Jab inn ko Maaloom Yeh Hogaa tum ne Firaq
ko dekhaa thaa

(The generations to come will envy you,
compatriots, When they will realize that you had seen Firaq.)

Like Faiz ,Firaq too has a
passionate engagement with humanity at large . Due to his strong commitment to
Marxism,quite often, Faiz comes up as a spokesperson of the downtrodden .
Firaq has nothing to do with Marxism . But then he is equally enchanting when
he talks about people in night long wait for some one to turn up or about
people managing their existence in suffering , pain , loneliness and separation
. A sample of Firaq’s style to substantiate my pointof view
could be …..

Raghupati Sahai “Firaq “ Gorakhpuri was an
excellent conversationalist. He could speak extempore for hours on Dante ,
Kierkegaard , Shakespeare , Tulsi Das ,Kabir , Tagore , Ghalib , Kalidas , Rumi
or Hafiz and then switch over to weird topics like variety of snakes and frogs
in Indian Jungles . His personal cook , Gardner , Washer Man , Hair cutter and
Tailor had to listen to his ideas on issues that fell under their jurisdiction
. Sometimes he could be seen giving long lectures to his cook as to How he
should cook “Baingan Ka Burthhaa “. His Dhobi was regularly counseled about the
technique of ironing different clothes or washing these on Ganga Ghaat at
Allahabad .

Firaq was known for his direct and
unwrapped views . To progressive writers , who were mostly influenced by
communist ideology , Firaq once said ,

“ You must also be conscious of present
possibilities and the bright hopes that it throws up for world around us . Do
not get trapped into the question of believing or Not believing in God. Accept
all the wisdom that was passed on to us by Rig Veda, Tennyson , Tolstoy, Tagore
, Ghalib and many more . Without consciousness of this Grand heritage , No
Progressive literature can be created .”

It was Firaq who had recommended the name
of Josh Malihabaadi as editor of Urdu Magazine AAJKAL published by Government
of India . Firaq was made chairman of the appointment committee by Pandit Jawahar
lal Nehru .When some Bureaucrats objected to this appointment , Firaq told
Pandit ji

“ What do these Bengali , Gujrati and
Madrasi officers know about Urdu . If their views were also to be taken into
account , what need arose to bring me as the Chairman of the appointment
committee.”

Pandti Ji had to abide by Firaq’s
recommendations .

Mehboob woh ke sar se qadam tak khuloos ho,

Aashiq vahii ke husn se kuchh badgumaan bhi
ho..

(Firaq Gorakhpuri )

I am
tempted to agree with firaq that any person under the sun can give unending
discourse on Literature ,Art , Morality and Religion. The listener is equally
tempted to peep into the personality of the orator , analyze and evaluate him
under the scanner of self practice . Mere oration does not make any person
Great . Firaq informs …

Aadami ka Aadami honaa nahin Aasaan Firaq ,

Ilm o Fun Ikhlaaq o Mazhab Jis se Chaaho
Poochh Lo …

( Firaq Gorakhpuri )

Firaq believed that Death is approachable
and touchable . For him , there is some positivity about Death .This positivity
he finds missing in Existence that slays man day in and day out . According to Firaq ,this demon of existence
has no cure . It is not reachable or touchable. I quote Firaq …